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A SIDE
Scharbatke is back again with this two-tracker on So Glad Records!
An imaginary journey from New York to Paris, based on one single session from Scharbatke with his new Studio Partner Jonathan Uhlig ended up in these piano - espresso - cafe mood kind of tracks. But with thick cigarette smoke and violent palpitations.
B SIDE
It all started with Love is only moments away... and of course no Idea how to run a label. Luckily a couple of crazy record sellers believed in our release. After a short time we were sold out...
Turquoise Colored French Tourists - Love Is Only Moments Away (Bias Remix)
Check this super duper funky remix of our first release ever.
Sure thing - make disco moves now, because ...
Immediately dancing is the only option that allows Bias with this remix!
Turquoise Colored French Tourists - Love Is Only Moments Away (Original mit harter Kick)
And yes there were lot of discussions about the kick drum.
We thought about making a remastered version with more gentle compression.
Well, but we didn't!
This is the Original mit harter Kick!

The band that modernised Zimbabwean music, and by doing so revolutionised the music industry in their country. Available for the first time on vinyl (180 gramms) with gatefold cover, and now all tracks fully remastered !

In 1972, the country of Rhodesia – as Zimbabwe was then known – was in the middle of a long-simmering struggle for independence from British colonial rule.
In the hotels and nightclubs of the capital, bands could make a living playing a mix of Afro-Rock, Cha-Cha-Cha and Congolese Rumba. But as the desire for independence grew stronger, a number of Zimbabwean musicians began to look to their own culture for inspiration. They began to emulate the staccato sound and looping melodies of the mbira (thumb piano) on their electric guitars, and to replicate the insistent shaker rhythms on the hi-hat; they also started to sing in the Shona language and to add overtly political messages to their lyrics (safe in the knowledge that the predominantly white minority government wouldn’t understand them).
From this collision of electric instruments and indigenous traditions, a new style of Zimbabwean popular music – later known as Chimurenga, from the Shona word for ‘struggle’ – was born.

And there were few bands more essential to the development of this music than the Hallelujah Chicken Run Band. The band came into being when a young trumpet player named Daram Karanga offered to assemble a group to entertain the workers at a copper mine in the town of Mhangura.

The original line-up – which included legendary singer Thomas Mapfumo, who would bring the sounds of Chimurenga to the world in the early 1980s with his band the Blacks Unlimited, and Joshua Hlomayi, one of the pioneers of mbira- style guitar – started out playing the Rumba and Afro-Rock styles popular in the capital. Although this was a hit with the white owners of the mine, the workers greeted it with indifference. But when they started adding electric arrangements of traditional Shona music to their repertoire, the audience went wild.

With the addition of “Zim” sounds to their arsenal, the HCR Band became unstoppable. Their reputation spread quickly and, in 1974, they were invited to the capital to compete in a national music contest organised by the South-African Teal label. Not only did they win the competition, but they also attracted the attention of famed producer Crispen Matema, who quickly organised their first recording sessions.
On their first day at Jameson House studios, they recorded half a dozen songs, including “Ngoma Yarira” and “Murembo”, two singles that would alter the course of Zimbabwean popular music.
During the next five years, the band would relocate from their small mining town to the capital city, go through numerous line-up changes and pay a few more visits to the recording studio, without ever losing the raucous urgency that had transformed them from popular entertainers into titans of Zimbabwean culture.

Karaba is the new signing on Kryptox. The Berlin label founded to show what's happening in the German Jazz crossover scene. One of these bands is Karaba from Munich. The band was already featured on the Kryptox Kraut Jazz Futurism Compilation in 2019. Now they deliver their first mini album for Kryptox. Five young guys from Munich. Skilled and tight on their instruments and deeply rooted in the heritage of all kind of wild forms of jazz, krautrock and psychedelic music. The kids began to jam together when starting to study music in 2012. Being from Munich, a town where legendary Krautrock bands like Amon Düül, Guru Guru and Embryo came from, the Karaba guys are obviously influenced by these german kraut and psychedelic sounds. You can hear that in many shades of this album: the complexity of the unusual rhythmical fundaments and percussive patterns. The Prog-Rock parts, with these partly abstract unisono lines and strange melodic figures or unexpected chord changes. Karaba’s album starts with an slightly arabic feel. The repetitive groove of „Der Inder“ gets the listener immediately into a different south-eastern space. Later the music gets more animated, more structured and more uplifting. A whole universe of little influences. Shades of certain Jazz and prog-rock bands: you might think about the canterbury scene of the 1960ies and 70ies. There are textures reminding of Soft Machine, Frank Zappa, Mats and Morgan, Kraan and maybe some Passport influences. (Another band from Munich that left a huge footmark in the worldwide jazz fusion history). The whole Karaba sound has a certain 1970es feel. But not in a pure retro way. The EP sounds more like a modern psychedelic 2020 Lofi Indie Jazz thing - a sound that fits well in these wild times and finds it’s place in the actual scenario of new jazz bands worldwide.

Released in 1981 and seamlessly blending passion, sleaze and synths, this was the stunning debut album by the influential duo Soft Cell. The album's critical and commercial success was helped by the worldwide success of its lead single single 'Tainted Love', a cover version of a soul song by Gloria Jones, which topped charts worldwide. The album produced two more wonderful top five singles in the UK in the shape of 'Bedsitter' and 'Say Hello, Wave Goodbye'. Meanwhile the infamous 'Sex Dwarf' caused something of a national furore. Bravo, Soft Cell! 180g, Back To Black vinyl with an MP3 Download voucher.

Nadia Khan returns on Scissor and Thread for another sublime mini LP, Port Ana. Based in North Carolina, Khan first drew a lot of attention via a cassette release on Where To Now? Records in 2015.
Her sophomore statement was the beautiful In Gleam released in 2018 on Francis Harris’ Brooklyn-based label, which set the tone for these five tracks of meditative music. The title track Port Ana opens the journey - a gentle, droning soundscape with effortlessly bewitching glints of melody. Conversation follows on, drawing on loops and textures to create the background for a deep, pulsing kick drum. The sounds shift and evolve, leaving a hazy sense of movement to drift away to. Next up is Objects In Form which presents a fragile chord progression that barely holds itself together, surrounded by shifting pads and swathes of reverb. Rain Again is presented here in two versions. The original combines ethereal sounds, weightless and adrift, while the Lawrence remix firmly grounds the track with a hypnotic, deep groove. The Dial boss provides another remix for the digital release that further plays with the textures of the original to create something that works both for an open minded dancefloor and as a home listening experience.

John Prine’s self-titled debut album continues to sound as fresh as it did back in 1971, with Rolling Stone ranking it amongst its 500 greatest albums of all time. It includes some of Prine’s finest works such as “Sam Stone,” “Paradise,” and the famous “Angel From Montgomery.” After initially being spotted by famed singer-songwriter Kris Kristofferson, John Prine’s debut album earned him a number of admirers, including the likes of Bob Dylan. Tracks such as “Paradise” resonated with many, quickly becoming a bluegrass standard. Originally written by John for his father, the track has since been covered by a number of artists such as Johnny Cash and The Everly Brothers.

John Prine, who passed away in April, was one of the most celebrated singer/songwriters of his generation and recipient of the 2020 Grammy® Lifetime Achievement Award. Considered a true folk-singer, Prine was known for his raspy voice and equally admired for his unique songwriting ability. His career spanned over five decades, during which he created witty and sincere country-folk music that drew from his Midwestern American roots and incorporated sounds from rockabilly, R&B and rock 'n' roll.

In addition to earning the Lifetime Achievement Award this year, Prine also won Grammy® Awards for The Missing Years (1991) and Fair and Square (2005). His songs have been recorded by a long list of well-respected artists, including Joan Baez, Johnny Cash, Bonnie Raitt, Kris Kristofferson, Carly Simon, George Strait, Norah Jones, John Denver, Miranda Lambert, The Everly Brothers, Bette Midler, Paul Westerberg, Tammy Wynette and Dwight Yoakam.

´Distant Memories - Live in London´ vereint ausgewählte Songs von DREAM THEATERs aktuellem Album ´Distance Over Time´ (2019) zusammen mit der vollständigen Aufführung von ´Metropolis Pt. 2: Scenes from a Memory´ (1999). An einem lang herbeigesehnten und fast schon als historisch zu bezeichnenden Abend in der Geschichte der Band entstand dieses bemerkenswerte Live-Album. Die Tour ´The Distance Over Time Tour: Celebrating 20 Years of Scenes From a Memory´ war ein Dankeschön an die Fans für ihre jahrzehntelange Wertschätzung und Liebe. Für die Band war ´die Tour in vielerlei Hinsicht wirklich unglaublich. Wir durften unsere neuesten Werke präsentieren, die von DT-Fans auf der ganzen Welt auf eine Weise aufgenommen wurde, für die wir unglaublich dankbar sind. Und die zwei Abende, die wir in London aufgenommen und gefilmt haben, gehörten definitiv zu den besten Shows der Tour.´ Petrucci fährt fort: ´Egal ob man die Gelegenheit hatte, diese Tour persönlich zu sehen und das hoffentlich großartige Konzerterlebnis noch einmal erleben möchte, oder ob man das Konzert zum ersten Mal auf Video genießt: ´Distant Memories´ fängt die Live-Energie sehr genau und sehr schön ein - ebenso wie die positive Aufregung, die wir alle im vergangenen Februar gemeinsam im Apollo verspürt haben.´ Er hebt das ´unglaubliche Touring- und Produktionsteam sowie unser großartiges Filmteam hervor, die allesamt perfekt abgeliefert haben und es uns ermöglichten, in bestem Licht präsentiert zu werden. Wir sind überaus stolz darauf, diese Veröffentlichung dank unseres talentierten Mix Engineers, unseres Regisseurs und Art Directors mit brillantem Sound sowie in visueller und künstlerischer Perfektion anbieten zu können.´ Die bedeutsame Performance ´Distant Memories - Live In London´ ist als Limited Deluxe 3CD / 2Blu-Ray / 2DVD 44-seitiges Artbook, Limited Edition 4LP + 3CD Boxset, Special Edition 3CD + 2Blu-ray Digipak, 3CD + 2DVD Mulitbox & als Digitales Audioalbum erhältlich.

Repress

Exciting Bristol-based artist Myth debuts on Amsterdam's boutique imprint The North Quarter with his hard-hitting “Long Time Coming EP”. Both stripped-back and widescreen at the same time, the project captures the essence of the Dub & Jungle influences that are ingrained throughout the five-tracks. Myth's undeniable technical prowess and ear for an effortless groove are on display as he shows he's one of the the brightest talents in the scene today.

Otik ​joins the ​Shall Not Fade ​family serving up five killer jams for their new ‘Basement Tracks’ series.

London based DJ // Producer ​Otik ​has been putting out some eclectic records over the past few years, including stand out twelves on ​Keysound, Nous & DEXT, amongst others. His latest outing sees him share some of his finest work to date, dark, moody synths dance gracefully with heavy drum sequences and weight basslines on ‘Zero-Sum Game’ EP.

Record Kicks reissues mythical Calibro 35's third album "Any Resemblance To Real Persons Or Actual Facts Is Purely Coincidental" sampled by Dr Dre in "Compton".

Completing the trilogy of Calibro 35's reissues, Record Kicks proudly presents "Any Resemblance To Real Persons Or Actual Facts Is Purely Coincidental", the third album by Italian cinematic funk heroes CALIBRO 35, whose title track was sampled by Dr.Dre in "One Shot One Kill" featuring Snoop Dog in his 2015 "Compton" album. After the reprint of the previous two records "Calibro 35" and "Ritornano Quelli Di (The Return Of)", this third and last reissue will be available on December 4th on a limited edition LP and digitally in a Deluxe Edition version. The digital Deluxe Edition includes 3 bonus tracks: the band's original compositions "Ballando In Balera" and "Appuntamento al Contessa" and a cover of Herbie Hancock's "Deathwish".

Recorded in Brooklyn in just five days, with "Any Resemblance" the Milan cult combo, while cultivating its damn-near-perfected cinematic vibes, experiments a more improvisational approach to writing. "Massacre at Dawn" comes straight from afro-funk territory, an homage to Brooklyn heroes Budos Band and Menahan Street Band. "Rain On Concrete" instead sounds like a French soundtrack composed some decades ago by Francis Lai or Jean Claude Vannier. There is also a more globally-inspired flavour to several tracks on the album: from the Indian vibe of the sitar-injected "New Dehli Deli," to the streets of San Francisco with the heavy weight of the clavinet on "Thank You and Good Bye," to the high impact horn riffs of Detroit's Motown Studio sound on "The BBQ Band" and "The Package", and then back again to Italy for retro-scat vocals on "Uh Ah Brrr", reminiscent of the best of Ennio Morrione's and Piero Umiliani's compositions from the 60s. Just like the previously reprinted "Calibro 35" and "The Return Of", 2012 "Any Remblance" LP is highly sought-after by collectors and soundtrack aficionados worldwide and by popular demand a reissue sees the light of day on a limited edition Gatefold LP that includes digital download of the bonus tracks.

Active since 2008, CALIBRO 35 enjoy a worldwide reputation as one of the coolest independent bands around. During their ten-year career, they were sampled by Dr. Dre on his "Compton" album as well as by Jay-Z and The Child of Lov & Damon Albarn, they shared stages worldwide with the likes of Roy Ayers, Muse, Sun Ra Arkestra, Sharon Jones, Thundercat and Headhunters and as unique musicians they collaborated with, among others, PJ Harvey, Mike Patton, John Parish and Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine as "the most fascinating, retro-maniac and genuine thing that happened to Italy in the last years", Calibro 35 can now count on a number of aficionados worldwide, including VIP fans such as Dj Food (Ninja Tune), Mr Scruff and Huey Morgan (Fun Lovin' Criminals) among others.

The Mighty Mocambos' new album "Showdown" sets another cornerstone in their prolific career as a globally active instrumental funk outfit. While maintaining their organic approach of recording real musicians live on tape, the group has refined their trademark sound with a dramatic edge, a hard hitting production and ventures into less obvious musical territories. While highly enjoying themselves as the tight unit they are, The Mighty Mocambos invited an exciting list of guests to contribute to their musical "Showdown": German film composer icon Peter Thomas, hiphop godfather Afrika Bambaataa, rap legends Charlie Funk aka Afrika Islan (member of the original Rocksteady Crew) and Donald D (of Ice-T's Rhyme Syndicate), plus Nichola Richards, Shawn Lee, DeRobert from peer label GED Soul in Nashville, Zulu Nation MCs Deejay Snoop & DJ Hektek and organ genius Guillaume Metenier all joined the group for their new musical adventure. "Showdown" is released on vinyl LP by Mocambo Records and on CD and digital incarnations by Légère Recordings.

About the Mighty Mocambos:

The Mighty Mocambos and their many incarnations have released dozens of 45s and several albums on their own imprint Mocambo Records and other labels such as Kay Dee, Truth & Soul, Tramp, Légère and Favorite Recordings, to name a few. They have collaborated with musical legends such as Afrika Bambaataa, Lee Fields or Kenny Dope, put new talent like Gizelle Smith and Caroline Lacaze on the map, brought Caribbean steel drums to funk clubs with their alter ego Bacao Rhythm & Steel Band, and have toured through all civilized parts of the continent and beyond for the better part of the last years. Their unique style and trademark sound are loved by peers, fans and critics alike and distinguishes them from mere retro-copycat-acts as well as overproduced plastic soul. The Mighty Mocambos continue to deliver their brand of funk with blazing horns, soulful guitars, driving drums and basslines combined with an extra bit of quirkiness. When not producing records for one of their many incarnations and collaborations, the band is touring steadily. Whoever witnessed a concert will tell you about the musicality, passion, energy, humour and joy that the band loves to bring to the people. Background What started out years ago as a take on "deep funk" and its associated vinyl culture has completely grown into its own oeuvre d'art. With the launch of their production studio and record label in 2006, things started to gain momentum. Apart from self-releasing the group's own recordings, Mocambo Records became a household name by putting out highly collectable vinyl 45s by today's best funk outfits as well as unearthing lost library funk treasures. The Mighty Mocambos however did not restrict themselves solely to their own label. Their interpretation of the Furious Five classic "The Message", released under a pseudonym on an obscure phantasy label without proper distribution, got picked up and remixed by Grammy- nominated producer legend Kenny Dope (Masters at Work, Bucketheads). Their first single with UK funk singer Gizelle Smith, "Working Woman", became an overnight smash and a prime-time club favourite of funk & soul DJs worldwide. Initially released on the Finnish private press imprint Old Capital, it got the remix treatment by Kenny Dope and a re-release on Kay Dee Records as well. After earning their credits through vinyl 45s, the band stepped up their game with the full- length "This Is Gizelle Smith & the Mighty Mocambos" in 2009. The album received rave reviews, got lots of airplay - and sold a bunch of physical copies too. Its success led to an extensive tour throughout Europe with club dates from Marseille to Oslo, performances at massive festivals such as the Printemps de Bourges in France and live radio appearances at respected FMs such as the BBC and Radio Nova. With the following album "The Future Is Here" (2011), the band stepped further into the spotlight and explored new sounds with features by hiphop legends Afrika Bambaataa and Charlie Funk, French singer Caroline Lacaze and German rare groove queen Su Kramer, while manifesting their unique raw funk sound and refining their unmistakable instrumental style that had long gained international reputation. The album was toured extensively, including a legendary performance with Afrika Bambaataa at Hamburg's Reeperbahn Festival (covered by ARTE TV), support gigs for Lee Fields and headline shows at renowned venues such as Amsterdam's Paradiso, Islington Assembly Hall in London, Paris' Bellevilloise, Tempo Club in Madrid, or at home at Hamburg's Mojo Club. After producing the critically acclaimed debut album "En Route" (2013) of French soul singer Caroline Lacaze, where their adapted their sound to deliver a stunning mix of French Beat, Soul & Psychedelic Rock, the band went on to record a full length under their moniker Bacao Rhythm & Steel Band. Their interpretation of 50 Cent's P.IM.P. had long become a cult classic and was often mistaken for the original sample. The group's approach in stretching the boundaries of funk by adding Caribbean steel pans caught the interest of Brooklyn's finest label Truth & Soul who signed the band for the album "55", an explosive mix of funk and hip hop cover versions as well as original compositions that showcase the band's singularity in today's funk circuit. The Mighty Mocambos' recent album "Showdown" (2015) sets yet another cornerstone in their prolific career as a globally active instrumental funk outfit. While maintaining their organic approach of recording real musicians live on tape, the group has refined their trademark sound with a dramatic edge, a hard hitting production and ventures into less obvious musical territories, with a diverse list of special guests ranging from German film composer icon Peter Thomas to hiphop pioneer Afrika Bambaataa.

Five years have passed since Pete Josef's debut album "Colour" caused a sensation worldwide amongst music lovers and critics alike. Since then, it's hardly surprising that his steadily increasing fanbase have been awaiting its follow up impatiently. "I Rise With The Birds" will be released in October on Sonar Kollektiv and one can say without doubt that the wait was worth it. The album's ten tracks offer gold until the last note of music, and an hour of food for thought about life's ups and downs. The blue-eyed soul singer from Bristol has come to be a well-respected multi-instrumentalist and producer over the years merging jazz, soul, pop, and electronic music and collaborating with Manu Delago, Rag'n'Bone Man and Roni Size among others.

The Uprising Tour ran in Europe from May to July 1980 with five further dates in the USA in September. It was Bob Marley’s last tour before his tragically early death in May 1981 at the age of just 36. A few days after the release of the “Uprising” album Marley played this now legendary live show from Dortmund’s Westfalenhalle on June 13th. Bob Marley is on superb form and delivers a set of hit singles and classic album tracks. His energetic, charismatic performance gives no indication that he was already ill with the cancer that would take his life less than a year later and this release is testament to his spirit and his musicianship.

This special 3LP edition is released to celebrate what would have been his 75th year.

Mow Records proudly presents L’enfants De Kita, the third album from a series of five, all produced by label owner Mowgan. Each album features vocalists and performers with African heritage, channeling Mowgan’s passion for the continent’s diverse sounds into vibrant, highly emotive productions. On L’enfants De Kita he teams up with Fanta Sayon Sissoko, a female performer from West African nation Mali. Based in Toulouse, where the album was recorded, Fanta’s musical roots go deep - her father played guitar and ngoni for Baaba Maal and her grandmother is Kandia Kouyaté, one of Mali’s best-known griot singers.

Mowgan always dreamed of working with a female singer from Mali, enchanted by their vocal style. After moving back to France a few years ago he bumped into Eric Diaouré, an old friend who he worked with in his teens. Eric is also a musician and just so happens to be from Mali. Mowgan revealed his ambitions to Eric and a meeting with Fanta was arranged - within a few days they were in the studio together.

Like the other albums in this series, L’enfants De Kita is a fusion of Mowgan’s love for African music and his penchant for electronic sounds. Fanta’s raw, affecting vocals are complemented by Mowgan’s considered production throughout with additional instrumentation from a range of performers, including a group of schoolchildren on ‘Tubani’. Featured artists include Solo Sanou (whose album ‘Soya’ was the second release on Mow Records) playing percussion, Mamadou ‘Madou’ Dembele, a multi-instrumentalist who plays ngoni, Yohan Hernandez on guitar and bass plus Madani Touré aka Chanana (a famous Malian rapper from the nineties) contributing to lead vocals on the album’s title track, with Tim Xavier handling mastering.

Mowgan’s approach to creating albums is to get a vibe going with the singer, produce a batch of songs and then select the best seven for each LP. It’s a pressure-free attitude that has led to some truly heartfelt productions, which encapsulate the purity of the creative process when it’s liberated from rigid constraints. You can hear this freedom of expression throughout L’enfants De Kita, Fanta in her element as she sings with passion and grace across all seven tracks.

The album begins with the title song ‘L’enfants De Kita’, which pays homage to Fanta’s hometown, Kita, in Mali. It is the centre of griotism, the local style of passing on knowledge from one generation to the next via spoken-word storytelling. Chanana joins Fanta on this one, which is the most ‘western’ sounding cut on the LP, Mowgan’s deft touch taking us to the dance floor, while Chanana adds extra depth with his rapid-fire vocal refrain. The glorious ‘Tubani’ tells the story of Djene Tubani, a girl who thought she was a bird. She disobeys her parents and neglects her friends, but eventually learns the error of her ways. Fanta’s vocals are amplified by the voices of a group of schoolchildren, including her own daughter.

‘Mobaya’ is a reminder that we can possess wisdom and deep knowing, but we can also enjoy ourselves; dance, sing and party. This is a club-focused production with 4x4 beats and a traditional house feel, which provide a wonderful accompaniment to Fanta’s uplifting vocals. Next up is ‘Dakan’, a cut which is all about destiny: Everyone has been put on Earth for a reason and by working together we can all achieve our destiny. Layers of percussion skip over the warm low end, with a lively trumpet appearing in the second half.

‘Dounouya’ explores the notion that we live in a world where everyone faces negative criticism. Fanta encourages us to take responsibility and move forward no matter what others think of us with this inspiring guitar-led cut. ‘Djonya’ highlights the fact that slavery still exists in today’s world - modern slavery, hidden from public view but still very much alive. “Our Africa is going to be okay if we all hold hands, if we are all together, all united,” she says. Finally,‘Badeya’, a great outtro which focuses on unity. We are all one family on this planet and this song speaks of people coming together but also respecting ourselves above everything else. The pace is slow and the instrumentation perfectly balanced to allow Fanta’s vocals to flourish.

Wah Wah 45s are proud to present a unique collaboration between the U.K.'s very own Afrobeat Ambassador, Dele Sosimi, and a producer who's been at the forefront of the South London electronic music scene for a decade now, Medlar.

The pair first joined forces five years ago, when Medlar was asked by Dele's label to remix the title track from his last album,You No Fit Touch Am. The result was possibly one of the most popular and cherished remixes to appear on the imprint. The producer's respect for the history of Afrobeat shined through in the mix of course, but it was his ability to finely balance that with his house music instincts whilst adding an infectious groove and classic 80s analogue synths that really stood out.

The track was an instant classic, and it soon became clear that the Afrobeat Ambassador and Peckham producer needed to make some music together. Having never actually met during the remix process, the dating began, and luckily the two were clearly a perfect match.

After some weeks of pinging ideas back and forth, and spending time in the studio together, it became obvious that this project was also something they could take out live. As so it has been, from their modest debut performance in East London last spring, to playing festivals across the UK and beyond. Never the same show twice, their shows are based around a bank of rhythms on MPC which come alive when combined with Dele's vocals and improvisational keyboard explorations, all of which are dubbed out live by Medlar. Their musical journey is always unpredictable, vibrant and often quite surprising!

With this in mind, when picking tracks they'd developed on the road over the last year to take into the studio,Full Moonevolved into what might be best described as a bossa nova meets country & western lounge track, suitable for sipping cocktails to on a beach, or perhaps in your back garden in the current situation!

"This is really great this track. Really great!" Gilles Peterson

The original version of the song dropped earlier this summer and has been championed by both Gilles Peterson and Moses Boyd on BBC 6Music. When it came to remix duties, there was only one production outfit who fitted the bill, and one who the label had been trying to coax a remix out of for a couple of years.

Lars Dales and Maarten Smeets, otherwise known as Detroit Swindle, have been turning out musical, soulful, tropical and always party starting house music for almost a decade now. Wah Wah label boss Dom Servini hooked up with the pair at a European festival a couple of years ago, and ever since has been waiting for the right project to come along that would spark their imagination.

"When we heard the original of 'Full Moon' for the first time, we really felt the retro style with the cr78 drum, the dreamy pads and that almost overly simple synth flute. For us, that really defined the direction of the remix and we looked for a hook that could make those elements pop in a more energetic way. The vocal is also super laid back so we chopped it up a bit to give it some more spice. I think it was when we wrote the chords for our remix that the dubbed out 80's synth vibe really started to take form. It turned out to be a really nice remix for this time of year and hopefully it'll warm some hearts when people hear it." Detroit Swindle

The follow up single,Gúdú Gúdú Kan,in turn received support from Tom Ravenscroft and Gideon Coe on BBC 6Music. It's Dele and Medlar's own take on an Afro-disco stomper. The title refers to the role the snare drum plays and its relationship with Ìyá Ìlù kan, or the kick drum. It's a simple but very effective metaphor for this unique musical collaboration where once again the pair forged a sound that's all their own.

Taking things back to The Shrine by way of a little Bugz style bruk magic, Daz-I-Kue's remix ofGúdú Gúdú Kanrestructures the tune more in the style of a Fela classic, albeit with a broken flavour and layers upon layers of keys galore! In doing so, Daz creates what we think is a sure fire future club classic.

For the first time you can enjoy the full length versions of both of these top class remixes on a single slab of gorgeous wax!

Fischgeist was recorded in a former water tank in Berlin-Prenzlauer Berg in August 2019. The nineteenth-century brick building consists of five layered circles, with a spiral staircase in the middle leading up to an exit to a hilltop. Inside, it’s humid and cold, the temperature always around 8–10 C°. The building’s acoustics produce a long reverberation that lasts up to 20 seconds.

‘One day between recording sessions, a man, a passerby, wanted to look inside the building. He told me that it used to be full of fish. For a second I imagined a huge round aquarium with loads of fish swimming around in circles. Then I realized that he meant dead fish were kept there, to be sold on markets during the GDR era. But the image of fish swimming in the space stayed with me.’

In conversation with the space of the water tank, Tomoko Sauvage searches beyond the limits of her self-invented ‘natural synthesizers’: porcelain and glass bowls, filled with water and amplified with hydrophones.

While she continues to develop some of the classic techniques heard on her previous album Musique Hydromantique (Shelter Press, 2017) – hydrophonic feedback (Kinetosis Study) and ‘fortune biscuits’ (porous pieces of terracotta that emit tiny singing bubbles) (Deluge) – here new elements are combined with delicate gestures to make curious noises: stroking bowls’ surfaces to imitate the voices of sea mammals (Metamorphosis), drawing dots and circles by rubbing stones against stones underwater (Exit) … The underwater amplification of quasi-inaudible sound is even more magnified in the air by the echo of the water tank. Not only tiny bubbles, but also micro-movements of the bones and veins of the hand holding the sonorous objects in the water, are intensely amplified – sounding like a tempest on the opening Deluge. Sauvage’s longtime research into hydrophonic feedback develops with her new obsession with natural harmonics and sympathetic resonance. In Flying Vessels, the percussive notes of struck bowls resonate and turn into feedback loops before decaying, fueled by electric signal gain. Kinetosis Study is a sonic etude on fluid dynamics – the flow velocity, pressure and density of manually shaped water waves directly controlling the aquatic synthesizer’s parameters.

August, when the mid-summer Ghost Festival is held, is traditionally known as the Ghost Month throughout East Asia. The spirits of the dead visit their living families, who welcome them with feasts, dancing and music. Miniature lantern-laden boats are released in rivers, to help lost ghosts find their way home.

Animated by formless matter – water, electricity, sound – Fischgeist celebrates a phantasmagoric journey, as the souls of aquatic lifeforms find their way out of the labyrinth of the water tank.

Credits
Composed, performed and mixed by Tomoko Sauvage
Recorded and produced by bohemian drips prior to ‘Speicher’ festival in Berlin, August 2019 (binaural recording with a KU-100 dummy head microphone)
Mastered by Andreas Kauffelt in Berlin
Cover drawings by Baien Mōri (1798-1851)
© Tomoko Sauvage and bohemian drips – all rights reserved

Complete with more gorgeous artwork from our favourite graphic designer, Animisiewasz, DP number 28 pops up offering four dance floor ready edits from one of our favourite young producers.

London based producer, multi-instrumentalist and artist Hoffy brings us five explosive disco/house monsters tailor made for when the clubs re-open and everyone goes ever so slightly nuts. With a couple of ridiculously uplifting releases on Forgot Records and a remix or two for Wah Wah 45s, of course, he knows how to move a crowd. His productions illustrate his deep love of classic (but never cheesy) disco, and an ability to create surges of energy even on the most docile of dance floors.

We hope you enjoy this craftily concocted quintet of soulful stunners that could easily sit alongside O'Flynn, early Romare and Dave Lee on your shelves. Another essential slab of foot friendly heat courtesy of your favourite Dubplate provider!

The first of three volumes: stomping, rollicking gospel music, intermingling with raw soul, searing blues, hard-rocking doo-wop and jazz, and storming r&b.

Infused and incandescent with the hurting, surging indignation of the Civil Rights movement, here are twenty-four precious scorchers by giants like the Staple Singers and Jimmy Scott, alongside devastating sides by less celebrated names like the Harmonising Five of Burlington, North Carolina, and teen-group the North Philadelphia Juniors, culminating triumphantly with slamming, sanctified versions of Hit The Road Jack and Wade In The Water.

Gatefold sleeve, with full-size booklet; beautifully designed, with stunning, rare photographs and original Savoy artwork.

First timer ever Best Of Mano Negra on vinyl ! Double black 140G vinyl edition. 24 sons – all their hits : "King Kong Five", "Mala Vida" , "Pas assez de toi" , "Out of time man", "King of Bongo", "Sidi H'Bibi", “Santa Maradona”, “Senor Matenza”… Mano Negra are the legendary French alternative rock band whose leader was Manu Chao. Singing in French, Spanish, English & even Arabic. They toured throughout the world and recorded 4 studio albums : “Patchanka”, “Puta’s fever”, “King of Bongo” & “Casa Babylon” & a live album “In the hell of Patchinko” , all reissued by Because Music and still available on CD & Vinyl. After their split, Manu Chao started a solo carreer in 1998 with the classic “Clandestino” album.

Historic Recordings Vol.1

Rare recordings of legendary blues guitarist Eric Clapton.

Features performances with The Yardbirds, Jimmy Page and Sonny Boy Williamson.

FANTASTIC 140 GRAM VINYL.
LIMITED EDITION
Full servicing to all relevant media
Extensive print & internet advertising

"...The most beautiful thing about my burrow is the stillness. Of course, that is deceptive. At any moment it may be shattered and then all will be over. For the time being, however, the silence is with me." - Franz Kafka

In early 2019, at the Sonic Pieces 10 year anniversary in Berlin, label head Monique Recknagel hand-picked three duos from the imprint to perform live together for the first time. One of the collaborations was between Deaf Center's Erik K Skodvin and electronic composer Jasmine Guffond. The performance went so well that Monique commissioned the duo to record a full-length together.

Six months later, Guffond and Skodvin headed to Berlin's VOX-TON studio and recorded for two days, joined by Finnish musician Merja Kokkonen (Islaja), who improvised wordless vocals. With Guffond on laptop and a cymbal and Skodvin using piano, feedback, farfisa organ and percussion, the two composed an album of deep, enveloping sound that slithers through genre, absorbing Kokkonen's unique voice into five intricate and evolving pieces.

"The Burrow" takes its name from Franz Kafka's unfinished short story that was written only six months before his death. The tale, published posthumously in 1931, centres around a small creature who builds a burrow that's anxiously fortified in an attempt to protect against perceived attacks. This sense of fear of the outside world feels even more focused in 2020. Each track is named after animals that are either extinct or almost extinct, adding a sense of loss that hangs in the air, punctuated by screams and deep reverberating piano hits. As the world we thought we knew quickly retreats from view and the idea of safety shifts rapidly, Skodvin and Guffond explore the impulse to protect what we know with an emotionally charged sound that provides a foil with cautious, haunting spaces in between.

Gitkin's music exists somewhere between primal, rootsy memory and distant exotic yearning — A dusty bordertown where the familiar blends imperceptibly into the enchantingly foreign.

After a long and fruitful run as a bandleader with relentlessly touring party-rockers Pimps Of Joytime and a Grammy-nominated country blues collaboration with Cedric Burnside, multi-instrumentalist Brian J set out to "explore tonalities I'd never messed with," as he puts it. It was a release from "having to write lyrics or involve my voice," he notes, and so the (mostly) instrumental sound of Gitkin came into being.

Reviews of Gitkin's first LP grappled with descriptors, tagging it vaguely as "cinematic" and comparing it favorably with Khruangbin. True, the music is largely wordless, emotionally evocative, and guitar driven. But it possesses an alluring alchemy all its own.

Gitkin's first release, 2018's well-received Five Star Motel, amply demonstrated his ease with earthy funk and comfortably-cut rhythm. On his new full-length release Safe Passage, the itinerant guitar slinger broadens his already rich palette with melodies informed by Greek and Middle Eastern modalities, Peruvian Chicha and Tuareg Saharan guitar styles. No gimmick, this juxtaposition of gut-bucket blues and funk low-end with unexpectedly twisting lead phrases highlights the intense flavors found in each savory ingredient.

Recorded at his home studio in New Orleans, Safe Passage showcases a new batch of immediately engaging, repeatedly satisfying cuts, ranging from surf exotica ("Cat Nip") to raunchy roadhouse stompers ("Fools Gold" and "The Drive") to dreamy vocal cuts "Foot Steps" and "Hold On" to the floating finale of "Safe Passage."

Gitkin's production radiates character and warmth, leaning on soft-focus vintage mics, dubby spring reverbs and the quirks of a tape console. Further enhancing the intimate vibe are guests like veteran Chauncey Yearwood (congas) and New Orleans local "Spug" Smith, who provides a sousaphone low-end on the cumbia-not-cumbia "Spug Life." Carol C lends her striking voice to three tracks, including the strutting single "De La."

Safe Passage will be released by Wonderwheel on September 18th, 2020 and will be available on vinyl, CD and digitally.

The horn of plenty arrives at your door, full of freshly harvested produce. It contains fruits of artists you already know and from others waiting to be introduced to you. Don’t be afraid though – they are only your new neighbours. Clear Memory Farms recommends this five track Various Artist EP: EDM-free, sustain-able, enriched with biodynamic electro spells and mystic funk chants. Have a try at this asymmetric game but don’t be surprised to turn into a hairy rebel. Is it worth it? Will you experience all die goede dingen? Seems like we can’t find any good answer for that – find out for yourself.

Mastering by Rude 66
Artwork by Dr. Rekorder

-Dedicated to Theo-

Recorded live during their headline North American tour in the summer of 2019, A Royal Affair Tour was a must-see best-of-British-rock show and featured support by Asia with the return of founding member Steve Howe in a special performance, John Lodge of The Moody Blues, and Carl Palmer’s ELP Legacy with guest vocals by Arthur Brown. The Yes performing line up was Steve Howe (guitar – joined 1970), Alan White (drums since 1972), Geoff Downes (keyboards; first joined in 1980), Jon Davison (vocals since 2011) and Billy Sherwood (guitar/keyboards in the 1990s and the late Chris Squire’s choice to take over bass/vocals in 2015), with Jay Schellen on additional drums. Yes performed songs from their storied career, one of rock music’s most prized bodies of work, and their set was in honor of the memory of YES members Chris Squire and Peter Banks.
Continuing the British theme, the set featured Alan White of YES’ tribute to John Lennon; White was the drummer on Lennon’s solo material including the recording of “Imagine.” Of the tour, Steve Howe said “Yes is delighted to headline this celebration of British music which has been so warmly received in America over the past five decades.” Alan White: “I’m looking forward to joining a number of classic British talents that have delighted so many fans over the past half century.” Geoff Downes: “This is a unique celebration of the British contribution to classic rock over many decades. It will be inspirational to be a part of. And I know it is what John Wetton would have wanted.”
A Royal Affair Tour – Live was recorded live at the Hard Rock Hotel in Las Vegas, Friday 26 July 2019.

The packaging features brand new artwork by legendary artist and longtime Yes collaborator, Roger Dean.

Auf Bronsons Veröffentlichung ”White Bronco” (2018) rappte er: ”my next album’s only for dolphins”, und der prinzipientreue MC steht immer zu seinem Wort. Action ist eine Legende aus Queens, NY, die für seine eigenwillige Feder und seine lebendigen Raps respektiert wird. ”Der Delphin ist eines der intelligentesten Lebewesen, das je geschaffen wurde, egal auf welchem Planeten wir uns befinden”, erklärt Action. ”Sie haben ihre eigene Art zu kommunizieren. Sie haben Nuancen und Unwägbarkeiten wie wir.” In einer völlig ungewöhnlichen Analogie vergleicht er den Wassersäuger mit den sagenumwobenen ”Fünf-Tool”- Baseballspielern - also mit einer außergewöhnlichen Klasse von Spielern, die alle Elemente des Spiels in sich vereinen. ”Die einzigen Menschen, die mich verstehen, sind diese ”Five-Tool”-Spieler, diese höheren Wesen, die sich auf derselben telepathischen Welle befinden wie ich”. So viel Zeit, wie er für das Wortspiel und die Bildsprache aufwendet, hat er auch in die Sonics investiert. Action hält ”Only for Dolphins” in der Familie und arbeitet mit Produzenten und Rappern zusammen, die er seit Jahren kennt. The Alchemist, Harry Fraud, Budgie, DJ Muggs, Samiyam, Daringer und Tommy Mas liefern die knisternde, psychedelische Klanglandschaften für Bronsons einzigartige Erzählungen, während
sein enger Freund Meyhem Lauren und dessen Bruder Hologram die einzigen Feature-MCs des Albums sind.

Between Christmas 2000 and New Year 2001 producers Ekkehard Ehlers and Stephan Mathieu recorded an album of warm, soft, delicately crackling electronic music in the space of that week. It was christened with the ambivalent title "Heroin" and was released on CD via the label Brombron in 2001 and later in 2003 re-issued on Kit Clayton's Orthlorng Musork on double-LP with remixes the pair had commissioned as expansions.

17 years later Heroin sees its first vinyl release to include all 13 tracks from the original CD track-list on this LP + 12“ set. The centerpiece "Herz" finally receives its long deserved vinyl treatment (side C, at 45rpm) and on the flip side Thomas Brinkmann contributes a mirror in a magnificent remix of that very piece on side D.

Ehlers and Mathieu were both highly prolific solo artists during the period 2000-2004, and in just two years after the initial release of "Heroin" each had produced over half a dozen new solo recordings: among them the serial masterpiece Ehlers' "Plays" (Cornelius Cardew, Hurbert Fichte, John Cassavetes, Albert Ayler, Robert Johnson) released as 5 stunning LPs in a series on Staubgold, while Mathieu's 'Full Swing Edits' spread over five 10" records plus his album 'FrequencyLib' on Mille Plateaux, 'Die Entdeckung des Wetters' on Lucky Kitchen and ‘The Sad Mac’ on Atsushi Sasaki’s Headz label were greeted to critical acclaim.

Both artists were expanding their conceptual sonic approaches in the glow of developing laptop technologies which would to these times in 2020 seem quite primitive, but these two in that period used the state-of-the-art to aid and abet their conceptual visions, while at times the duo used unorthodox experimentation - yet always had a distinctively melodic and musical form at its heart and soul.

Ehlers can be seen as a conceptualist, as a meta-musician who interrogates the mediums and methods of sound production - reflecting on the conditions and possibilities of improvisation (e.g. "Plays Albert Ayler") and exploits ideas of mutation and distortion of popular aesthetics played out within a ghostly form of divine pop beauty in his project März.

Mathieu, originally a drummer and co-founder of what has come to be known as the Berlin 'Echtzeitmusik' scene. His approach could be similarly described as working a critical analyst and researcher: Subtly and precisely working in the realm of processing as a method of intervening in melodious/harmonic analog sound sources.

Ehlers and Mathieu may not think too much about their singular productions and publications outcomes, but instead concentrate on the process and musical personality that characterizes their gesture- style itself stays in the background - and they usher a music from small minimal sound sources coaching a patient music of slow intervention - much like a refraction of light than a concrete painting or a blurred photograph - beatus accident.

And indeed, "Heroin" is an album that embraces the happy accident being made up of reduced, often very catchy and very direct micro hooks which seem laser-guided into a space accepting obvious melodic beauty in what feels like an observation of musics unfolding and revealing it's DNA, embed with for a kind of yearning for innocence and naiveté - as if Satie were on the jukebox in "The Crying of Lot 49". Not to say the music is "reduced", but rather: 'restricted' and born from acceptance of limitations, and the artists allowing the sounds to just "be.." with some incremental degrees of coercion.

The album not only sounds like that of 2 producers who are both dreamers and scientists, but that Ehlers and Mathieu chose to work with these means in a dialogue together to reduce pop music to its musical/tonal core, it is not Pop music anymore, rather a ghostly pointilistic itteration of song. "Heroin" is located at this transition, around that point at which tracks, that were or could have become pop compositions, irrevocably slip into a static harmonic nirvana. We are invited to follow the arch of Heroin in a slow-motion morphine musical haze.

Heroin sounded timeless when originally released and proof is that it remains so, one wishes that Ehlers and Mathieu would convene again for a week, a month or an entire year to continue this process of slow rumination, picking affectionately over the sounds they both love - and then maybe when everything is condensed, evaporated they would write more songs with those sonic refractive elements that remain.

We are thrilled to welcome a new artist to the Metamorphic roster and it is none other than Italian producer Nicolo Loporchio recording under his Nico Lahs moniker! The prolific Loporchio, hailing from Bari, is one of the most accomplished Italian producers out there with previous releases on Ovum, Poker Flat and Rawax to name a few. Following a five year hiatus during which he focused on his Cosmic Garden alias and started his own vinyl only label Cosmic Rhythm, he drops the Blow Your Mind EP on Metamorphic, 4 spaced out and atmospheric techno tracks that showcase his skills in the studio and match perfectly with the ethos of the label.

Five years after his critically acclaimed debut album Throwback, Glenn Astro returns with his deeply personal album Homespun.

Marking a change in course from his first release on Tartelet Records, Glenn Astro is set to showcase his sophomore album Homespun, a testament to a visionary artist who has come into his own. Made up of ten tracks spanning 45 minutes, the record twists and turns between electronic meditations, soulful vocals by Ajnascnet, and futuristic electro, carving out a world of spacey eclecticism that is as nostalgic as it is experimental.

“This album is in all facets different from the first one, which was a deliberate decision. No vintage sounds and references, no sampling, combined with futuristic sound design and song structures.I tried to keep it as current and intuitive as possible,” he says.

Known for his chunky beats and fuzzy textures, Glenn Astro has released on labels such as Ninja Tune and Apollo, leaving a distinctive signature on everything he touches.

But Glenn Astro has quietly been crafting a new sound for himself. Sometimes taking detours – morphing into his dark alter ego and experimenting with artist collaborations.

The sound of Homespun is a culmination of several years of reflection and artistic development – however, the album itself was produced in less than three months. “I set myself an ultimatum to finish the album within three months. If I didn’t make it, I’d
have to rethink my career path and keep music as a hobby, he says.

On the introspective first single and album title track “Homespun,” Ajnascent’s vocals lend a sincerity to the melancholic production. “It’s about the regret of not taking chances and giving in too much, but also about taking responsibility and being honest with yourself. Homespun is a nod to nostalgia and a desire for simplicity and prudence, being equally the culprit and the cure,” elaborates Ajnascent.

On “The Yancey,” an homage to J Dilla, Glenn Astro paints his vision of contemporary dance music with shimmering melodies, deep ambient soundscapes, and advanced drum programming. “Moreira” and “Look at You” feel like spaced-out electronic funk hybrids, while “Taking Care of Business” goes back to the future with Glenn Astro’s take on jungle. Other tracks such as “Mezzanine,” “Slow Poke Flange,” and “Viktor’s Meditation” provide the finest dubby electronics.

At the heart of Christian Stadsgaard's solo project Vanity Productions is a voracious emotive charge that's forever tempered by an austere and self-disciplined approach to composition. His new album for Posh Isolation, the label and project that he authors with Loke Rahbek, is the most thoroughgoing realisation of the tendencies and processes captured in the guise of Vanity Productions to date. Entitled 'But All Spiked,' the album presents a suite of five pieces that veer surely yet subtly through a complimentary range of acousmatic environments. Of his recent works its perhaps 'Only The Stars Come Out At Night' that most resembles a preliminary route in to the arena of his new album. Sometimes overtly, though often with a cryptic veneer, he modulates a central refrain across each piece that comes to engulf the stereo field with different intentions. Citing the influence of American minimalist composers, Stadsgaard has refigured some of the compositional practices towards his particular context and oeuvre. A medley of strings and electronics waver in and out of place on the opening piece, 'White Ribbons On The Ceiling,' introducing the careful preparation and treatment of sound as a means of articulating a profound though compassionate melancholy. The album is drenched in sorrow and seeks its expression with great economy. And it's around this detail that there's perhaps some slight indication of the album's turbulent personal context and the major life changes that underpin it. Stadsgaard's restraint proposes a wealth of wistful invocations. This control, once combined with the subdued presence of his penchant for glaring noise, is what organises 'But All Spiked' into the meditative and dynamic work that it is.

The latest record from Delinquent Delivery sees label-head Stephen Mahoney round up five of Dublin’s most prolific producers. Stuey Lyons, Jon Hussey, Jack Jennings, Stephen Mahoney & Rustal have contributed to Stretching Ohms, the fifth release on Delinquent Delivery. Dancefloor directed techno at its finest.

Stuey Lyøns & Jon Hussey have teamed up for A1, a straight-shooting dancefloor oriented techno work. With over forty years of experience between them,Lyøns & Hussey’s expertise is put to work on A1. Dark, pensive and groove-oriented, A1 never deviates too far from its source, making it a useful techno tool for any DJ’s arsenal.

Jack Jennings contribution on A2 is another dancefloor directed number, featuring a dissonant lead married with a swinging percussive section which creates an infectious groove. Jennings’ production style would be synonymous with dark, late night sets, such as those by Marcel Dettmann or Chris Liebling.

Mahoney’s input to Stretching Ohms is B1, a commanding techno banger. Mahoney’s production style is similar to his DJ sets, delicately blending subtle elements throughout B1 while never losing focus of the main driving components. B1’s direct approach makes it perfect for late night sets.

Rustal rounds the record off with B2, a groovy roller which echoes Detroit through and through. Chiming in as the fastest track on the record, Rustal effortlessly balances a funky bassline with a compelling lead, reminiscent of the Belleville Three’s earlier work. B2 marks the end of Stretching Ohms, continuing on the energetic path set out before.

Stretching Ohms delivers high-octane dancefloor driven bangers of the highest quality. Each track differs in style, but combined they all have similar DNA – they’re all made in Dublin. This release highlights the talent that Ireland has to offer to techno globally.

Two years in the making, Future Ruins, TOM And His Computer’s debut album, will be released on Trentemøller’s In My Room label in October 20th. As a 20 year veteran of the Copenhagen music scene, Thomas Bertelsen has been releasing music under the sobriquet of TOM And His Computer for five years, merging the newest technologies with the old, while squeezing fresh sounds out of equipment that’s not only obsolete, sometimes it’s barely functioning at all. “I switch back and forth between the digital and the analog worlds. I’ll utilize old guitar pedals as well as the newest software,” says Thomas Bertelsen, producer behind TOM And His Computer. “It’s never about the gear, though, but rather finding that one little sound that can trigger an idea for an entire track.” Future Ruins was also co-produced and mixed by Trentemøller. While previous offerings have taken listeners to the outer boundaries of what can be considered “electronic music,” including nods to dark wave, dream pop, krautrock and modern psych rock, Future Ruins presents those influences in a new way and represents a great leap forward for the Copenhagen based producer.
The result is a genre-less collection of songs showcasing TOM’s obsession with propelling sounds of the past into the present, and future, combining noise and edginess with his “commitment to fresh ideas with a clear sense of melodies,” according to Clash Magazine. “My tastes are eclectic and I like to flirt with many different sub genres,” says TOM. “The aim was to combine various styles while trying to maintain a common denominator,” which committing to a full-length offered as an opportunity.

Libreville Records is proud to present a focus on legendary electronic swiss project Mega Wave Orchestra in the form of a compilation LP including unreleased material.Originally released privately in Geneva in 1988 as a box set containing five LPs by The Mega Wave Orchestra and five prints by the artist H. Richard Reimann. The Mega Wave Orchestra, the brain-child of musician, mathematician and composer Christian Oestreicher, was conceived as an multi-media electronic music big-band. It was comprised of seven multi-instrumentalists Christine Schaller, Vincent Barras, Jacques Demierre, Olivier Rogg, Rainer Boesch, Roger Baudet, and Benoit Corboz, with Oestreicher as arranger and producer.The Mega Wave Orchestra created a new hybrid music. It was a music with roots in the jazz and classical traditions, but one which also drew on the sonic freedom of musique concrete and the kind of total experience offered by psychedelia. The diverse backgrounds and specialisms of each of the band leaders/writers resulted in a wide variety of music across the five discs: from austere drones and granular aural detail to warm oddball fusion and gorgeous but cracked vocal jazz. There are useful contemporary comparisons to be made: zoned synth jazz like the Azimuth LP on ECM or Karin Krog’s Freestyle; Larry Heard’s sequencer dreamtime; the Valium minimalism of Pep Llopis or Jun Fukamaki; Dexter Wansel’s shimmering arrangements for Loose Ends, or even the FM sheen meets cold war threat of Donald Fagen’s Night Fly. Here, too, is the sound of music technology about to snowball and define its own aesthetic, unknowingly prefiguring auteurish bedroom producers like Black Dog or The Detroit Escalator Company.Lovely crafted tip-on sleeve. Remastered from Master tapes. 600 copies.

GES: Anthology of American Pop Music

Six great pop standards remembered: five pop songs are dissected by sampler, stretched, compressed, and re-collaged. In this way, their identity is lost. What remains is a vague concreteness: flashes of déjà vu and remote echoes that evoke the original.
GES (Gesellschaft zur Emanzipation des Samples)
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Active members: Helmut Schmidt, Jan Jelinek
Founded: 2009
Headquarters: Federal Court of Justice, Karlsruhe, Germany
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GES Glossary

Acoustic Surveillance Series

A 7-inch vinyl record series curated by GES focussing on historical methods of acoustic surveillance. Each record introduces a surveillance system from the past. Starting with Uguisubari in 2017, the series will continue with the release of Orecchio di Dionisio in 2021. GES is open to further suggestions on this subject.

Bundesgerichtshof (German Federal Court of Justice), Karlsruhe

“The use of audio samples as artistic practice may justify the infringement of copyright and intellectual property rights.” (ruling of the German Federal Court of Justice pertaining to Metall auf Metall II, 2016). The court is also the official headquarters of GES.
Circulations

What happens to copyright claims when music from a passing car is captured in a street recording? Is it legal to use this recording freely or is it necessary to obtain licensing rights? Circulations re-enacts this recording situation: audio players are placed in public spaces, where they reproduce the desired sample material. The acoustically choreographed space is then recorded, creating a field recording in which everyday noises circulate together with seemingly incidental music.

Emancipation of Sampling

Fuelled by its criminalization, the act of sampling existing recordings forfeited some of its artistic prestige (see Sampling). GES wishes to rehabilitate and re-emancipate the practice of sampling as a form of art in its own right. Strategy: 1. Name samples and sources explicitly. 2. Choose samples that are as popular and as recognizable as possible (Beatles, Carpenters, etc.). 3. The editing and manipulation of the sample must not compromise its recognizability (negotiable). 4. Use as many samples as possible. 5. Always name more sample sources than were actually used in the composition.

Field Recording

A compositional practice widely used in sound art and ethnomusicology that involves the recording of natural acoustical phenomena. Two additional requirements are usually imposed: The recording process should take place outside a studio environment, i.e. outdoors. And the person recording does not generate any of the acoustic material him/herself. GES expands this definition by introducing the concept of choreographed public space (see Circulations).

Gambling

An acoustic event favoured by GES, already used in numerous sound collages (must take place in public). The most popular option is thimblerig, a cup and ball gambling game commonly played in the street. Compositional instruction by GES: Place an audio playback device in the proximity of a thimblerigger. Play works for orchestra (by Debussy or Mahler). Move slowly towards the gamblers with a microphone.

Helmut Schmidt

Multiple identity and fictional character devised by GES. Figures variously within the semiotic system of GES as member, guest artist or public representative. Following the historical example of Subcommandante Marcos (EZLN).

Kraftwerk

The German band founded by electropop musicians Florian Schneider-Esleben and Ralf Hütter (a.k.a. Die Prozessoren) is the natural enemy of GES. Protected by computer-generated avatars, Kraftwerk operates a quote-hostile cultural hegemony. Their strategy: Install a special brand in the collective consciousness by means of a sophisticated system of quotations and references that may in turn not be quoted by anyone else. Other bands with such delusions of omnipotence: U2, Metallica.

Marcel Duchamp

As the inventor of the readymade, Duchamp may be viewed as a precursor to the art of sampling. However, the artist is appreciated above all for his sonorous qualities, as his vocal silence has often been sampled and processed. It was the inspiration for Jelinek's radio play Zwischen.

Orecchio di Dionisio

This 65-meter-deep limestone cave in the Sicilian town of Syracuse, carved out of a hillside in ancient times, has exceptional acoustics: A person standing at the cave entrance can hear every word whispered deep down inside it. The painter Michelangelo da Caravaggio gave it its name (The Ear of Dionysius) in 1608. The cave indeed resembles an ear and – according to Caravaggio – had a specific function: The tyrant Dionysius I imprisoned his political prisoners in the cave in order to spy on them. Orecchio di Dionisio will be featured in the Acoustic Surveillance Series in the near future.

Sampling

Compositional practice whereby recorded music is fragmented, turned into sound collages and transferred into different contexts of meaning. Since the advent of affordable sampling technology in the 1990s, the music industry has been trying to criminalize and/or promote the practice. Both strategies are driven by the same principle: Profit.

Uguisubari

Sound-making floorboards in Japanese temple and castle complexes, featured in the Acoustic Surveillance Series in 2017. In the Edo period, the “nightingale floor” (literal translation of uguisubari) was a popular acoustic warning system. The principle was straightforward: When someone stepped onto the boards, nails would rub against metal clamps beneath the floor, creating a tell-tale squeaky sound that was said to resemble the chirping of the Japanese nightingale.

Wind

A generator of acoustic events and an amplifier/transmitter of existing sounds. A meteorological form of energy appreciated by the GES on account of its unpredictability. A series about wind as an acoustic phenomenon is planned. Working title: Hotel Corridors.

Zwischen (Between)

Radio play by GES member Jan Jelinek based on recordings of various public interview situations. From the speech of the interviewees (all of them eloquent personalities) the pauses between coherent utterances were extracted and assembled. What we hear is an archaic body language: modes of breathing, word particles and onomatopoeic turmoil. A key question for GES: Which comes first, personal rights or artistic freedom? For Zwischen, Jelinek used only recordings by public figures that were already available to the public.

Tape / Cassette

As one half of Phantom Horse, his long-serving electronic duo with Ulf Schütte, Niklas Dommaschk co-produces beautifully muted, Kraut-inspired jams that seem to soundtrack fictitious TV ads for wondrous imaginary household appliances, e.g. a calmly efficient, if slightly unsettling kitchen robot with an integrated lava lamp feature.

In contrast, Shapes cuts tracks down to size – nothing here is longer than five-and-a-half minutes. Also, Dommaschk has turned up the treble, the prominence of the higher frequency spectrum adding bite and menace to these deceptively simple synth polyrhythms.
Whereas opening track “Benzin” (German for “Petrol”) manages to conjure the paradoxical image of something or someone meandering with urgency, “Einzeller” (German for “single-celled organism”) channels a John-Carpenter-style pulse, complete with horror sound effects. “Interference” is a truly effective representation of the term, with piercing, but quiet tinnitus frequencies set above a beat as sparse as it is crunchy. “Two Stones”, by contrast, offers a kind of robotic wistfulness whereas closing piece “Energies of the mind” fizzes out like a jumble of toy keyboards attempting to score a science programme - and failing, but instead revealing some much grander emotional truth.

This is the sound of breaking some kind of inner lockdown, of turning inwards and then projecting parts of murky inner shadows outward, as well-defined and sometimes lurid shapes, individually clear, but still in the process of becoming organized into a complete whole. The unfinished is what excites us the most. May the shapes never find their slot in the jigsaw puzzle.

All songs by Niklas Dommaschk
Recorded between 2017 and 2020 in Berlin and Nijmegen
Mastering by Edgar Medina
Artwork by Daniel Castrejón

The 7” is arguably one of the 20th century’s greatest art forms (I’m prepared to argue it anyway). What should have been a disposable format, either as the herald for the altogether more serious LP or the truncated version of the extended 12”, ended up a the perfect expression of modern music - tightened up, fat free and to the point.
At some point during a DJ career that’s lasted pretty much the entirety of his adult life, Boca 45 (aka Bristolian Scott Hendy) eschewed all other formats to choose the 7” as his weapon of choice. Embracing and celebrating the limitations of the format (both in terms of record length and the type of music showcased on discs of that size), Hendy set out on a truly singular path for soundtracking parties the world over. In 2015 Banksy personally requested him to DJ with his 45s at the opening night at his Dismal Land Show, now, in his forty fifth year on Planet Earth, he’s made an album that reflects a life well spent flipping through the racks the world over.

On this album he has collaborated with lots of the people that he has previously worked with over the past 20 plus years recording music.

Vocal collaborations come courtesy of Louis Baker (Soul On Top / Move A Mountain) Emskee (Energy Boost / The Roxy) Sergio Pizzorno from Kasabian (White, Blue & Red) & Gee Ealey who i worked with on Malachai (Lonely)

Jamaica Suk’s 17-track, quadruple-volume ‘Uncertain Landscapes’ series continues with its second part, bringing five tracks of uncompromising cutting-edge techno.

NovaMute artist Nicolas Bougaïeff kicks off with the rasping sounds of ‘Nocturne 1’, a tense juggernaut of a track. Sheet metal textures clash up against eerie FX the most throbbing of kick drums, with a twisted, distorted feel to the breakdown.

Keith Carnal’s ‘Infringement’ injects rhythmic bleep patterns into its chattering percussion, creating an almost dubby feel that’s contrasted with an urgent energy. Well-timed filtering adds to the tension.

The warped wiggle of Helrad’s ‘Groove Addicts’ comes next, with intense machine energy filtering up from the depths. A manic cacophony of detuned bleeping creates a heavy, relentless feel over the succinct beat.

Insolate’s ‘Sanchin’ rocks a pulsating bass chug that underpins washed-out textures and synth delays, with rasping metallic sounds washing over the track in the second half while the shuffling percussion keeps ticking away.

Manuel Di Martino channels some classic Detroit vibes in the chattering clap & snare patterns and rolling groove of ‘Runout’. Resonant tones blip, loop and pitch-shift in hip-shaking fashion to give the feel of a classic Jeff Mills set in action.

Counterchange presents 'Eigenlicht' by Portuguese-German multi-instrumentalist, producer and award-winning film composer John Gürtler.

Gently teetering between krautrock-influenced synth mantras and saxophone improvisations, down-tempo electronica, sound design experiments and moments of rich ambience, 'Eigenlicht' is a diverse album of electro-acoustic music. The 11 tracks were recorded between two studios and on location at Berlin's infamous Teufelsberg, the abandoned Cold War era US spy-radio and radar outpost named 'Field Station Berlin', surrounded by forest to the west of the city.

A document of Gürtler's development, many of the pieces here were first laid down in his bunker-like former basement studios at Drontheimer Straße in north Berlin, before he eventually elevated above ground - both physically and musically - building his current Paradox Paradise studio and becoming an established film music composer. In 2019 John won the European Film Academy Award for Best Score, for his soundtrack for Nora Fingscheidt's debut feature 'Systemsprenger' (System Crasher).

In recent years John collaborated on a number of projects with acclaimed German producer and composer Phillip Sollmann aka Efdemin, performing live and releasing the 'Gegen Die Zeit' EP on Sky Walking, a subsidiary of Dial records where he also remixed Efdemin's 'Parallaxis' under the moniker The Borderland State.

In part an ode to the Macbeth Systems M5 modular synthesizer, with its three oscillators, much of the album features the towering instrument, whose uniquely rich tone and rumbling, pure bass end characterises tracks like 'Eigenlicht', 'M5', 'Synthetics' and 'Five Voice'.

"The M5's built in spring reverb and huge sliders and faders - as opposed to all the tiny knobs on Eurorack synths - make it as playable as any acoustic instrument."

John's primary background is in acoustic music, coming from woodwind and keyboard instruments, improvisation and composition. The leap into working with computers and electronic instruments found him exploring ways to make synths and samplers sound as organic as possible.

First new album in five years from Kiwi musician and producer Andrew Spraggan, aka Sola Rosa, spanning the genres of soul, funk, R&B, nu-jazz, hip-hop, and electronic music. The album features a heavy hitting line-up of vocalists, including regular collaborator and Streets singer, Kevin Mark Trail, Basement Jaxx’ long term collaborator Sharlene Hector and genre-defying, rising UK reggae star Kiko Bun. Other collaborators include London singer/songwriter Josh Barry, London’s eclectic Neo-Soul singer Jerome Thomas, British reggae and dub MC vocalist Eva Lazarus, plus up and coming Australian vocalist Thandi Phoenix. Closer to home, ex-pat Kiwi vocalist Wallace and Aotearoa’s own musical maverick, Troy
Kingi add their talents to the mix. Two single national/specialist radio campaign pre release Full UK/EU print and online PR campaign for singles, DSP tracks, and album release Extensive online/social marketing and advertising campaign to accompany each release
Physical product will consist of digipack CD, gatefold double black LP and ltd edition double Post-coronavirus touring and international promo trips are planned for 2021
Black double vinyl in a gloss gatefold sleeve.

In January 1967, a 24-year old Aretha Franklin signed to Atlantic Records and began one of the most legendary runs in music history, releasing five U.S. hit singles in that year alone. Rhino celebrates the 50th anniversary of Franklin's historic signing with an opportunity to hear her classic Atlantic masters like never before.

A BRAND NEW ME: ARETHA FRANKLIN WITH THE ROYAL PHILHARMONIC ORCHESTRA pairs classic vocals from some of the most iconic songs that the Queen of Soul recorded for Atlantic Records with new arrangements performed by The Royal Philharmonic Orchestra, recorded the music at Abbey Road Studios in London, with brand new backing vocals led by Grammy®-winning singer Patti Austin.

The result is another timeless record that retains the soul, groove, and gospel power of Franklin's revered talent. Among the standout tracks are newly re-imagined versions of classics like the Billboard #1 R&B hits Respect,' Think,' Don't Play That Song (You Lied),' and Angel.'

The album was produced by Nick Patrick and Don Reedman, the masterminds behind the massive worldwide success of If I Can Dream: Elvis Presley With The Royal Philharmonic Orchestra, which recently topped the charts in multiple countries and has sold more than 1.5 million copies.